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<titleStmt>
<title>The History of Magic</title>
<author>Kurt Seligmann</author>
</titleStmt>
<publicationStmt>
<p> Published as a project for <name>Illinois State University</name
> course, <name>ENG 416: Best Practices in Digitizing Historical Documents</name
> </p>
</publicationStmt>
<sourceDesc>
<bibl> <title>The History of Magic</title> by <author>Kurt Seligman
n</author>. <pubPlace>New York</pubPlace>: <publisher>Pantheon Books Inc</publis
her>,
<date when="1948">1948</date>. <extent>504 p.</extent>
</bibl>
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<text>
<body>
<pb n = "290" rend="left"/>
<lb />
<head rend="center" type = "title">
<emph style="font-style: normal; font-size: xx-large">DIABOLIC RITES
</emph>
</head>
<head rend="center" type="subtitle">
<emph style="font-style: italic; font-size: large">Black Magic</emph>
</head>
<p rend = "right" style="font-size: small">...that by magical mutterings
rapid rivers
<lb break = "no" />
can be made to run backwards, the ocean be
<lb break = "no" /
>
congealed, the winds robbed of breath, the
sun stopped in his course, the moon made to

<lb break = "no" />


<lb break = "no

" />
drop her foam, the stars plucked from their
<lb break = "no" />
spheres, the day innihilated, and the night <lb break = "no" />
indefinitely prolonged.
<lb break = "no" />
Apuleius, <emph>Metamorphoses, Book I</emph></p>
<p>Turning from the witch to the "black" magician, we may now uncover t
he<lb break="no" />
latter's secret ritual, the means by which he conjures up the infern
al pow-<lb break="no" />
ers, and holds them in servitude. For unlike the witch, who is the s

lave of <lb break="no" />


the devil, the magician <emph>commands</emph>. He has the knowledge
and sells his soul at<lb break="no" />
a high price; he knows how to control the spirits, whose strange nam
es he has <lb break = "no" />
learned in secret books, the <emph>grimoires</emph>, or black books.
</p>
<p>"O men, feeble mortals, tremble at your own temerity," starts the fam
ous<lb break = "no" />
instruction to the magician which is recorded in the <emph>Great Grim
oire</emph>. "Do not<lb break = "no" />
heed blindly such profound wisdom. Raise your spirit beyond your sphe
re and<lb break = "no" />
learn from me that before undertaking anything, one should be firm in
all<lb break = "no" />
decisions."</p>
<p>
The infernal powers are to be controlled craftily. They are like a ho
rse, aware<lb break = "no" />
of the horseman's timidity. They will try by every means to dismount
him.<lb break = "no" />
People who are impressed easily, who fear horrible apparitions and in
fernal<lb break = "no" />
noise, should abstain from summoning the forces below, for these will
manifest<lb break = "no" />
themselves at first in terrifying images. When called, the devil will
appear in<lb break = "no" />
the most bizarre forms, before condescending to that of man, and if t
he con-<lb break = "no" />
juror cannot stand quietly in his protective circle, if he allows onl
y a finger to<lb break = "no" />
trespass across the magic line, he will be torn to shreds. For devils
hate to<lb break = "no" />
serve magicians, and it is only for the reward of the costly human so
ul that<lb break = "no" />
they accept servitude. They rejoice in catching unaware the conjuror
who has<lb break = "no" />
infringed upon the rules.
</p>
<p>
"If you wish to make a contract with hell," it is written in the book
<emph>Sanctum</emph><lb break = "no" />
<emph>Regum</emph>, "you must first decide whom you want to call." It
is not necessary to<lb break = "no" />
disturb Satan in person, when an inferior hellish prince can fulfill
your wishes.<lb break = "no" />
"Two days before the conjuration, you must cut a bough from a wild ha
zel tree
</p>
<pb n="291" rend="left"/>
<lb />
<p>
with a new knife, that has never before been used. It must be a bough
which<lb break = "no" />
has never carried fruit, and it must be cut at the very moment when t
he sun<lb break = "no" />
rises over the horizon.
</p>

<p>
"After this, take a bloodstone, as it is known by the druggists who s
ell it,<lb break = "no" />
and two blessed wax candles and select a lonely place where the conju
ration
</p>
<p rend="center" style="font-size: small">Fig. 124. The Devil Pointing o
ut Hidden Treasures</p>
<p>
may proceed undisturbed. Old ruined castles are excellent, for spirit
s like de-<lb break = "no" />
cayed buildings; a remote room in your house may do equally well. Wit
h your<lb break = "no" />
bloodstone, trace a triangle upon the floor, and set the candles at t
he sides of<lb break = "no" />
the triangle. At the bottom of the triangle, write the holy letters I
H S, flanked<lb break = "no" />
by two crosses (fig. 125).
</p>
<p>
"Take your stand within the triangle with your hazel wand and the pap
ers<lb break = "no" />
conatining the conjuration and your demands, and summon the spirit wi
th<lb break = "no" />
hope and firmness:
</p>
<pb n="292" rend="left"/>
<lb />
<p>
" 'Emperor Lucifer, master of the rebellious spirits, I beg you to be
favorable<lb break = "no" />
to me, when now I call for your minister, the great <emph>Lucifuge Ro
focale</emph>, as I<lb break = "no" />
desire to sign a contract with him. I beg also that Prince Beelzebub
may pro-<lb break = "no" />
tect my enterprise. O Astaroth, great count, be favorable likewise, a
nd make it<lb break = "no" />
possible for the great Lucifuge to appear to me in human form and for
ce, with-<lb break = "no" />
out bad odor, and that he grant me, by the agreement which I am ready
to sign<lb break = "no" />
with him, all the riches which I need. O great Lucifuge, I pray that
you leave<lb break = "no" />
your dwelling wherever it may be to come here and speak to me. If you
are
</p>
<p rend="center" style="font-size: small">Fig. 125. Magic Circle</p>
<p>
not willing to come, I will compel you to do so by the power of the g
reat living<lb break = "no" />
God, of the Son and the Spirit. Come promptly, otherwise I will torme

nt you<lb break = "no" />


eternally by the power of my mighty words and by the great <emph>Key
of Solomon</emph>,<lb break = "no" />
which he used when compelling the rebellious spirits to accept a pact
. Thus<lb break = "no" />
appear as quickly as possible, or else I will torment you continuousl
y by the<lb break = "no" />
powerful words of the Key: "Aglon Tetagram Vaycheon Stimulamathon Ero
-<lb break = "no" />
hares Retragsammathon Clyoran Icion Esition Existien Eryona Onera Era
syn<lb break = "no" />
Moyn Meffias Soter Emmanuel Sabaoth Adomai, I call you, Amen." ' "
</p>
<p>
This incantation is irresistible. Before you have finished it, Lucifu
ge will<lb break = "no" />
appear and will speak thus: "Here I am, what do you want, why do you
disturb<lb break = "no" />
my repose? Answer!"
</p>
<p>
The conjuror: "I wish to make a contract with you to the end that you
give<lb break = "no" />
me wealth as quickly as possible; otherwise I will torment you with t
he pow-<lb break = "no" />
erful words of the Key."
</p>
<pb n="293" rend="left"/>
<lb />
<p>
Lucifuge will answer with an established ceremonial, according to the
rules<lb break = "no" />
of diplomacy:
</p>
<p>
"I cannot obey your command if you do not surrender your soul and bod
y,<lb break = "no" />
after twenty years, agreeing that at such date I may do with you what
ever I<lb break = "no" />
wish."
</p>
<p rend="center" style="font-size: small">Fig. 126. The Devil Pointing o
ut Hidden Treasures</p>
<p>
This is the crucial point. The magician has to be on his guard and no
t com-<lb break = "no" />
mit himself in any way. He must try to force Lucifuge into obedience
without<lb break = "no" />
promising anything. But such artifices are of little avail. For hell
will not give<lb break = "no" />
without reward. This is the way in which one should, according to the
black
</p>

<pb n="294" rend="left"/>


<lb />
<p>
book, circumnavigate the dangerous reef: throw your pact out of the c
ircle.<lb break = "no" />
The script must be set upon virgin parchment and it must be signed wi
th your<lb break = "no" />
blood. It shall read: "I promise to the great Lucifuge to reward him
after twenty<lb break = "no" />
years for all the treasures which he will have given me."
</p>
<p>
This devious document, Lucifuge will not accept at first. The magicia
n will<lb break = "no" />
insist in reading the grand appellation and the fiend-smiting words o
f the Key,<lb break = "no" />
he will force Lucifuge to appear again.
</p>
<p>
"Why do you torment me still more. If you will leave me alone, I will
give<lb break = "no" />
you a treasure not far from here. My condition is that you will conse
crate a<lb break = "no" />
piece of money to me every first Monday of every month; and that you
will<lb break = "no" />
call for me once every week between ten at night up to two in the mor
ning.<lb break = "no" />
Take up your pact which I have signed. And if you do not keep your pr
omise,<lb break = "no" />
you will belong to me after twenty years."
</p>
<p>
There is some doubt as to whether our black book reports the whole tr
uth,<lb break = "no" />
for it is strange that Lucifuge gives his signature, a thing which de
vils keep<lb break = "no" />
ordinarily for themselves. The conditions set down are unfavorable to
hell, and<lb break = "no" />
Lucifuge does not even demand a copy of the foul agreement. Lucifuge
will<lb break = "no" />
appear in the form as shown in figure 124 which contains his signatur
e as well.<lb break = "no" />
The magician will answer thus:
</p>
<p>
"I agree with your suggestion, provided that you show me now the trea
sure<lb break = "no" />
you promised me, as I wish to take possession of it immediately."
</p>
<p>
Lucifuge: "Follow me and take up the treasure, which I will show you.
"<lb break = "no" />
(Fig. 126.)

</p>
<p>
Now the conjuror will step out of the magic triangle at the point ind
icated in<lb break = "no" />
figure 125 and follow the evil spirit to the riches, which he will to
uch with the<lb break = "no" />
magic wand. He will also place the agreement upon the treasure, and a
fter<lb break = "no" />
having taken as much money as he can carry, he will return to the mag
ic tri-<lb break = "no" />
angle, walking backward. Then he will dismiss the spirit with these w
ords:
</p>
<p>
"O great Lucifuge, I am satisfied with you; for now I will leave you,
go in<lb break = "no" />
peace, and I permit you to retire wherever you desire, but without no
ise or<lb break = "no" />
stench."
</p>
<p>
and to become rich
This is a simple way of conjuring up the evil powers
<lb break = "no" />
quickly. Other black books prescribe far more complicated rites. Ther
e is, how-<lb break = "no" />
ever, the <emph>Black Pullet</emph> whose virtue is also simplicity.
According to the author,<lb break = "no" />
the magician must carry a black hen that has never laid an egg, to th
e crossing<lb break = "no" />
of two roads; there, at midnight, cut the fowl in half and pronounce
the words:<lb break = "no" />
<emph>"Eloim, Essaim, frugativi et appellavi."</emph> Then he must tu
rn his face towards the<lb break = "no" />
east, kneel down, and pronounce the great appellation, holding a cypr
ess staff<lb break = "no" />
before him and "he" will rise immediately (fig. 127).
</p>
<p>
King Solomon was considered the master of all dealings with the under
world,<lb break = "no" />
and many "original" texts of his conjuration circulated among the mag
icians.<lb break = "no" />
the wording was Hebrew, written in Roman characters (fig. 128). Solom
on's<lb break = "no" />
seal was considered a most efficacious magic design, recommended by P
eter<lb break = "no" />
of Abano for the summoning of an air spirit. It should take place whe
n the<lb break = "no" />
moon is expanding (fig. 129). Another magic design, four concentric c
ircles,<lb break = "no" />
Abano recommends for the invocation of good spirits in the first hour
of the
</p>
<pb n="295" rend="left"/>
<lb />

<p>
Lord's day in springtime. It is a circle of white magic in appearance
, the name<lb break = "no" />
of Varcan being that of the Lord's king-angel of the air; Tus, Andas
and Cyna-<lb break = "no" />
bel are his holy ministers. The highest angels of the Lord's day, Aba
no says,<lb break = "no" />
are Michael, Dardiel and Huratapal. The wihd which carries them is th
e north
</p>
<p rend="center" style="font-size: small"> Fig. 127. Apparition by the S
ecret of the Black Hen</p>
<p>
wind. These angels may be invoked in magical ceremonies which should
be<lb break = "no" />
rendered efficacious with incense made of red sanders.
</p>
<p>
Other magic circles and signs may be found in the rare black books wr
ongly<lb break = "no" />
attributed to Pope Honorius, in the <emph>Little Albert</emph>, and i
n the <emph>Red Dragon</emph>. Espe-<lb break = "no" />
cially suggestive symbols illustrate a series of works attributed to
the arch-<lb break = "no" />
wizard, Dr. Johann Faust, who lived in the sixteenth century.
</p>
<p>
There are several versions of the Faustian <emph>Hllenzwang</emph> (Hel
l's Coercion),<lb break = "no" />
like that said to have been printed in Rome during the pontificate of
Alexander<lb break = "no" />
VI (1492-1503). It is known, however, that Faust did not start his oc
cult career<lb break = "no" />
before 1525, or even 1530, a fact which makes the little treatise som
ewhat sus-<lb break = "no" />
picious. At any rate, the magic drawings which it presents are very f
ine. Figure<lb break = "no" />
130 shows Faust's magic circle inscribed with Hebrew letters, and his
wand.
</p>
<pb n="296" rend="left"/>
<p rend="center" style="font-size: small"> Fig. 128. Magical Incantation
According to the Key of Solomon</p>
<pb n="297" rend="left"/>
<lb />
<p rend="center" style="font-size: small"> Fig. 129. The Great Magic Cir
cle of Agrippa</p>
<pb n="298" rend="left"/>
<lb />

<p rend="center" style="font-size: small"> Fig. 130. Circle and Wand of


Dr. Faustus</p>
<pb n="299" rend="left"/>
<lb />
<p>
Another, undated, <emph>Hllenzwang</emph> was found in the collection o
f a ninteenth-<lb break = "no" />
century occultist and bears on its title page a striking fantasy port
rait of the<lb break = "no" />
famous sorcerer, the Magus Maximus from Kundlingen, or Knittlingen. A
third<lb break = "no" />
black book attributed to Doctor Faust is that printed in Passau, carr
ying the<lb break = "no" />
date 1407, i.e., before the invention of printing with movable types,
and about<lb break = "no" />
a hundred years before Faust was born. It contains a curious circle,
in which<lb break = "no" />
the cross is a part of a wholly unreligious design, perhaps composed
in this<lb break = "no" />
way for the deception of the devil (fig. 131).
</p>
<p>
Dr. Faust's <emph>Great and Powerful Sea Ghost</emph> is the title of
a black book, printed
</p>
<p rend="center" style="font-size: small"> Fig. 131. Magic Circle</p>
<p>
in Amsterdam in 1692, to be obtained from Holbeck Boecker, salesman a
t the<lb break = "no" />
Cabbage Bridge. In its introduction, Faust gives a summary account of
his deal-<lb break = "no" />
ings with Beelzebub who sent him a servant spirit, Mephistopheles. "S
uch a<lb break = "no" />
thing," he says, "will only be doubted by people who have entrenched
them-<lb break = "no" />
selves in prejudice and who deny that such compacts can be made." The
mak-<lb break = "no" />
ing of the circle is rather difficult: it has to be cut out in sheet
metal. With<lb break = "no" />
every stroke of the hammer, one has to pronounce: "Made strong agains
t all<lb break = "no" />
evil spirits and devils." The triangle in the center (fig. 132) has t
o be formed<lb break = "no" />
by three chains taken from gibbets and nailed down with those nails t
hat have<lb break = "no" />
gone through the forehead of executed criminals, who were broken upon
the<lb break = "no" />
wheel, and other such horrors. Then the magician addresses himself to
God<lb break = "no" />
with holy prayers, which have to be said in great devotion, but are i
ntermin-<lb break = "no" />
gled with exclamations: "yn ge tu y ge sy San mim ta chu."
</p>
<p>

After an unctous amen, a curse must be pronounced over Satan: "Hound


of<lb break = "no" />
hell, Spirit, precipitated in the abyss of eternal damnation; see me
standing<lb break = "no" />
courageously amidst the hordes of devilish furies,"
and more of such bo
asts.<lb break = "no" />
Three times Satan must be cursed before he fulfills the magician's wi
shes. With<lb break = "no" />
horrid expressions he is sent away. And the booklet ends thus:
</p>
<pb n="300" rend="left"/>
<lb />
<p>
"When you have taken posession of the money and the jewels, and Lucif
er<lb break = "no" />
is gone, then thank God with a psalm. With all your possessions, go t
o another<lb break = "no" />
country. Remain pious. Do not forget the poor and the converts."
</p>
<p>
The <emph>Red Dragon</emph> and the <emph>Grimoire of Pope Honorius</
emph> tell us about the princi-<lb break = "no" />
pal spirits of hell and their signatures (fig. 133). <emph>Lucifer</e
mph> is the emperor; his sign
</p>
<p rend="center" style="font-size: small"> Fig. 132. Magic Circle and Ch
aracter</p>
<p>
is a four-horned head. Prince <emph>Beelzebub</emph> recognizes himse
lf in an unpleasant<lb break = "no" />
profile. Grand duke <emph>Astaroth</emph> thrusts his tongue out, as
if to rail at such useless<lb break = "no" />
things as signatures. <emph>Lucifuge</emph>, chief of the cabinet, sh
ows some resemblance<lb break = "no" />
to the American Indian. <emph>Satanachia</emph>, chief of the armies,
sings with an insect-<lb break = "no" />
like image. <emph>Agagliarept</emph>, a general, uses two heads for h
is seal. <emph>Fleurety</emph>, lieu-<lb break = "no" />
tenant-general, is characterized by a clumsily drawn horse hoof and b
y a sharp
</p>
<pb n="301" rend="left"/>
<lb />
<p rend="center" style="font-size: small"> Fig. 133. A few Authoritative
Portraits of Demons</p>
<pb n="302" rend="left"/>
<lb />
<p rend="center" style="font-size: small"> Fig. 134. The Philosopher Der
iding Magic</p>
<pb n="303" rend="left"/>

<lb />
<p>
profile that does not fit his lyrical name. Brigadier <emph>Sargatana
s'</emph> signature is a<lb break = "no" />
butterfly of hell, and <emph>Nebiros</emph>, the field marshal, has a
dopted as his seal a leaf<lb break = "no" />
and a being which is half insect, half baby. These quasi-official eff
igies are not<lb break = "no" />
very frightening. Are they caricatures drawn by some fearless humoris
t?
</p>
<p>
Related closely to the conjuration of devils by the magician is the o
ld necro-<lb break = "no" />
mantic art, the evocation of the dead. At the operator's demand, they
rise from<lb break = "no" />
the tomb to reveal the future and to tell of treasures which they had
hidden<lb break = "no" />
during their lifetime.
</p>
<p>
The deceased walking by night appear often without being summoned; at
<lb break = "no" />
times they form weird processions, marching silently thorugh the terr
ified city.<lb break = "no" />
In Mediterranean countries, this belief is still alive, and in many t
owns the in-<lb break = "no" />
habitants barricade themselves in their homes at nightfall, in fear o
f the wan-<lb break = "no" />
dering dead.
</p>
<p>
Sometimes these ghosts are garrulous, adding thus to the terror of th
eir<lb break = "no" />
appearance. So in Shakespeare's <emph>Hamlet</emph>, "the sheeted dea
d did squeek and<lb break = "no" />
gibber in the Roman streets."
</p>
<p>
Ghosts do not find peace in their graves because they have committed
evil,<lb break = "no" />
have neglected to accomplish something important during their lifetim
e, or<lb break = "no" />
have taken a secret with them to the grave. They return but, having b
een sepa-<lb break = "no" />
rated from life, they behave in unnatural and incomprehensible ways.
They<lb break = "no" />
guard their money chests yet are unable to reveal the place where the
se are<lb break = "no" />
buried. They stare, mumble, remain immobile. They walk without moving
their<lb break = "no" />
legs, they haunt the places which they used to like, unable to forget
the de-<lb break = "no" />
lights of life which have now become alien to them. They sit in their
rocking<lb break = "no" />

chairs at the fireplace and attempt with their half-decayed hands to


seize the<lb break = "no" />
old pipe still lying there. At times they seem completely insane, reenacting<lb break = "no" />
their former deeds or simpley frightening their beloved ones with the
ir un-<lb break = "no" />
earthly behavior.
</p>
<p>
The necromancer has found means by which he can call them to order. T
hey<lb break = "no" />
must answer his questions truthfully, and disappear into their graves
when he<lb break = "no" />
dismisses them. Through his magic words, the dust in the decayed coff
in takes<lb break = "no" />
shape again, and rises from a long<lb break = "no" />
</p>
<p>
The notorious Edward Kelly, alias<lb break = "no" />
great an influence upon Dr. John De<lb break = "no" />
search of occult and alchemical adv<lb break = "no" />
escape from prison. Dr. Dee retur<lb break = "no" />
memoirs, which were published in<lb break = "no" />
<emph>Relation of What Passed for Many</emph><lb break = "no" />
Though in this work he does not speak<lb break = "no" />
nevertheless known that he and Kelly<lb break = "no" />
land, evoked the dead in a lonely cem<lb break = "no" />
dryness does not attenuate its macabre<lb break = "no" />
gether within the magic circle. Kelly<lb break = "no" />
book, whereas the frightened Dr. Dee rais<lb break = "no" />
before them stands the deceased in her<lb break = "no" />
read distinctly the words, <emph>Raphael, Rael,</emph>
</p>
<pb n="304" rend="left"/>
<lb />
<p rend="center" style="font-size: small"> Fig. 135. John Dee and Edward
Kelly Summoning the Dead</p>
<pb n="305" rend="left"/>
<lb />
<p>
more that holy angels of white magic could be used for the blackest k
ind<lb break = "no" />
of sorcery.
</p>
<p>
In the <emph>Red Dragon</emph>, we learn a most curious way of summon
ing the dead. In<lb break = "no" />
the chapter, <emph>The Great Art of Speaking with the Defunct</emph>,
it is said that it is in-<lb break = "no" />
dispensable for a true necromancer to assist at Christmas Mass, at mi
dnight<lb break = "no" />
precisely. As the host is raised, he must bow down and say in a low v
oice:<lb break = "no" />

<emph>"Exurgent mortui et ad me veniunt,"</emph> 'the dead rise and c


ome to me.' After this,<lb break = "no" />
the necromancer must leave the church and go to the nearest graveyard
. At the<lb break = "no" />
first tomb, he shall say:
</p>
<p>
"Infernal powers, you who carry disturbance into the universe, leave
your<lb break = "no" />
somber habitation and render yourself to the place beyond the Styx Ri
ver."
</p>
<p>
After a few moments of silence, he adds:
</p>
<p>
"If you hold in your power him whom I call, I conjure you, in the nam
e of<lb break = "no" />
the King of Kings, to let this person appear at the hour which I will
indicate."<lb break = "no" />
Next the conjuror takes a handful of earth and spreads it like grain,
murmur-<lb break = "no" />
ing all the while:
</p>
<p>
"May he who is dust wake from his sleep. May he step out of his dust
and<lb break = "no" />
answer to my demands which I will make in the name of the Father of a
ll<lb break = "no" />
men."
</p>
<p>
Bending his knee, he turns his eyes to the east. Thus he must remain
until<lb break = "no" />
the "gates of the sun open." whereupon he gathers two human bones and
<lb break = "no" />
holds them in the form of a St. Andrew's cross. Then, leaving the yar
d, the<lb break = "no" />
magician shall toss the two bones into the first church he encounters
. After-<lb break = "no" />
wards, walking towards the north and having made exactly four thousan
d and<lb break = "no" />
nineteen hundred steps, he lies down upon the ground, outstretched, h
is hand<lb break = "no" />
on his legs, his eyes raised to heaven in the direction of the moon.
In this<lb break = "no" />
position, he summons the deceased, saying: <emph>"Ego sum, te peto et
videre queo."</emph>
</p>
<p>
The specter will appear readily. It is dismissed with the words: "Ret
urn to<lb break = "no" />
the Kingdom of the chosen. I am happy about your being here." Leaving
the<lb break = "no" />

spot, the necromancer returns to the grave, where his experiment bega
n, and<lb break = "no" />
with his left hand he traces a cross upon the stone.
</p>
<p>
The instructions on the black book end like this: "Do not forget the
slightest<lb break = "no" />
detail of the ceremonial as it is pre<lb break = "no" />
into the snares of hell."
</p>
<pb n="306" rend="left"/>
<lb />
<p rend="center" style="font-size: small"> Fig. 136. Ideal Portrait of D
octor Faustus</p>
</body>
</text>
</TEI>

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